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2nd Sunday of Easter

If you are looking for a way to idle away a couple of hours (or more if you are really keen), in your internet search engine type in an entry that goes something like, “the Resurrection of Christ in Western Art.”

There will, of course, be many, many entries, however, they will have substantial similarities with each other, and that similarity is that Christ is ‘going up’ and away, and is usually alone; with those daring to hang around scared out of their wits.

An example is the oil painting by Anthony Van Dyck.

Painted c 1631 – 32, the oil hangs in The Wadsworth Atheneum an art museum in Hartford, Connecticut.

If, on the other hand, you do a similar search and change just one word a great secret is revealed.

The change is from ‘Western’ to ‘Orthodox’.

The secret, at least for many Western Christians is hidden in the other half of the universal church, in places like Syria, Turkey, Greece, and Egypt; the Eastern Orthodox.

In the Eastern Orthodox tradition, Easter is not usually painted with a solitary Jesus rising from the dead.

Jesus is always surrounded by crowds of people—both haloed and unhaloed.

In fact, in traditional icons, Jesus is pulling people out of Hades.

Hades is not the same as hell, although we put the two words together, and so we grew up reciting in the creed that “Jesus descended into hell.”

Instead, Hades is simply the place of the dead.

There’s no punishment or judgment involved. It’s just where a soul waits for God. But we neglected that interpretation.

So, the Eastern Church was probably much closer to the truth that the resurrection is a message about humanity.

It’s a message about history.

It’s a corporate message, and it includes you and me and everyone else. If that isn’t true, it’s no wonder that we basically lost interest.

An example is a fresco in the Chora Church in Istanbul, Turkey, (c 14th C).

Take a moment to look at the different energy of the persons in both illustrations; in the Van Dyck oil, the Risen Christ is heading up and away from; those present are cowering not in awe, but rather in fear.

In the Orthodox fresco, Christ is descending, and persons are clamouring for a touch, to be taken hold up, to be lifted out of that which holds them in place, inert.

Allow the Risen Christ to ”descend” to those places in my life which hold me bound; reach out, and be taken by the hand to a new and life-giving place.

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Easter Sunday

In the third book of JRR Tolkien’s Lord of the Rings trilogy there is a scene that captures something of the joy experienced by the disciples when the resurrected Jesus appeared to them.

The realm of the Dark Lord, Sauron has been destroyed, and against all hope the world has been saved, at least for the time being.

Frodo, the hobbit, and his faithful servant and friend, Samwise, have also been saved. Sam wakes up, smells wonderful perfumes and sees Gandalf, the wizard he thought was dead. Sam gasps,

“Gandalf! I thought you were dead! But then I thought I was dead myself. Is everything sad going to come untrue?”

“A great Shadow has departed,” said Gandalf, and then he laughed, and the sound was like music, or like water in a parched land; and as he listened the thought came to Sam that he had not heard laughter, the pure sound of merriment, for days upon days without count. It fell upon his ears like the echo of all the joys he had ever known. But he himself burst into tears. Then, as sweet rain will pass down a wind of spring and the sun will shine out the clearer, his tear ceased, and his laughter welled up, and laughing he sprang from his bed.

“How do you feel?” he cried. “Well, I don’t know how to say it. I feel, I feel” – he waved his arms in the air – “I feel like the spring after winter, and the sun on the leaves; and like trumpets and harps and all the songs I have ever heard!”

Indeed, the feast we celebrate today does feel like Spring after Winter, and the sun on the leaves. “He is Risen.”

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Palm Sunday

Imagine that today’s Gospel text, that accompanies the blessing and procession of palms (Lk. 19: 28 – 40) the triumphal entry of Jesus into the city of Jerusalem was adapted as a stage show, or perhaps even a full-length movie; the spotlight would most certainly be directed onto the person of Jesus. He is the central figure, he has the starring role; however, in directing the spotlight onto Jesus, another figure is illumined – the donkey! In fact, the donkey and Jesus share the limelight, and I would like to focus on the donkey. Certainly, Jesus rides the donkey into Jerusalem today, however it may not have been the first time he was on a donkey. Christmas images in art have a pregnant Mary riding on a donkey as she and her husband Joseph make their way to Bethlehem. Similarly, these images have Mary (holding the newborn child) riding on a donkey as she and Joseph make a hurried escape to Egypt. And we might well imagine that there was a ride on a donkey when the family made their return from exile. Donkeys carrying Jesus appear to be a theme.

In Orthodox Christianity there is a special title given to Mary – that title is Theotokos. The title is what we in the English language would call a portmanteau, that is a new word formed by fusing together parts of existing words, in this instance the Greek word “theo” meaning God and the word “tokos” meaning to bear or to carry. Mary is the “God-bearer”. However maybe the donkey is also – the God-carrier.

Maybe that is our privilege and responsibility as baptized women, men, and children – to become a donkey! To carry Jesus wherever we go! There is, however, one important element which is sometimes overlooked, the bearer at times tries to become the one who is being carried. A genuine donkey will stand and wait with patience until the Master has need – and we have no better example there than the original ‘Theotokos’, who carried when carrying was necessary, who let the Word go when the Word chose, and who in the end was ready to hold when the Word could go no further, known as the Pieta.

The Pulitzer prize winning American poet ( 1935 – 2019 ) wrote a thought-provoking poem with the title, “The Poet Thinks About The Donkey”

On the outskirts of Jerusalem
the donkey waited.
Not especially brave, or filled with understanding,
he stood and waited.

How horses, turned out into the meadow,
     leap with delight!
How doves, released from their cages,
     clatter away, splashed with sunlight.

But the donkey, tied to a tree as usual, waited.
Then he let himself be led away.
Then he let the stranger mount.

Never had he seen such crowds!
And I wonder if he at all imagined what was to happen.
Still, he was what he had always been: small, dark, obedient.

I hope, finally, he felt brave.
I hope, finally, he loved the man who rode so lightly upon him,
as he lifted one dusty hoof and stepped, as he had to, forward.

+ Mary Oliver

 

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Fifth Sunday of Lent

The Gospel story about an encounter between Jesus and those accusing a woman of adultery, (John 8: 2 – 11) is not about the rights and wrongs of the woman’s behaviour.

The Pharisees use Moses and his law as their point of validation. So let us go to the law of Moses.

In the Book of Leviticus we read, “If a man commits adultery with the wife of his neighbour, both the adulterer and adulteress shall surely be put to death.” (Lev. 20:10).

Did you spot the word ”both”?

I would hazard a guess that few persons who read that Gospel passage have bothered to look at the law of Moses. According to the Law of Moses, King David ought to have been put to death!

The Gospel is about finger-pointing.

I have said on many occasions when you point a finger at an individual you are, in fact, pointing three at yourself!

What we accuse others of is more often than not what we ourselves are guilty of, or have difficulty in accepting a part of who we are.

Have you ever given consideration to the possibility that the adulterer was one of the group who brought the woman to Jesus?

The following is a reflective poem written as a response to the Gospel passage. The author, Irene Zimmerman OSF. A School Sister of St. Joseph.

From the angry crunch of their sandaled feet
as they left the courtyard, Jesus knew,
without looking up from his writing on the ground,
that the Pharisees and scribes still carried their stones.

The woman stood where they’d shoved her,
her hair hanging loose over neck and face,
her hands still shielding her head
from the stones she awaited.

“Woman,” he asked, “has no one condemned you?”

The heap of woman shuddered, unfolded.
She viewed the courtyard — empty now —
with wild, glazed eyes and turned back to him.
“No one, Sir,” she said, unsurely.

Compassion flooded him like a wadi after rain.

He thought of his own mother — had she known such fear? —
and of the gentle man whom he had called Abba.
Only when Joseph lay dying had he confided
his secret anguish on seeing his betrothed
swelling up with seed not his own.

“Neither do I condemn you,” Jesus said.
“Go your way and sin no more.”

Black eyes looked out from an ashen face,
empty, uncomprehending.
Then life rushed back.
She stood before him like a blossoming tree.

“Go in peace and sin no more,”
Jesus called again as she left the courtyard.

He had bought her at a price, he knew.

The stony hearts of her judges
would soon hurl their hatred at him.
His own death was a mere stone’s throw away.

– From Woman Un-Bent, Irene Zimmerman, St. Mary’s Press, Winona, MN. 1999